Graphic Design - Year 1
Critical and Contextual Studies
Claudia Griffin
Focusing on specific examples, describe the way that Modernist art and design was a response to the forces of modernity?
Modernity is a historical period of time, recognized as being from 1750-1950, in which came many changes to the Western world that were believed to be improving life for everyone, due to the processes of industrialisation, urbanisation, mass production, and the emergence of new technologies and materials. Modern was seen as a positive term, promoting progress, and proving that the new is better than the old. As modern technology appeared, easily accessible transport came to existence and urban living grew in popularity. These are examples of the forces of modernity, which are expressed in Modernist art and design – Modernism.
Instead of living in rural areas, people shifted towards the towns, meaning that many more people lived in one area. There were bountiful developments, which people put their faith in, believing that they would advance the world, but downsides came with this mass urbanisation. With so many people, from all backgrounds and wealth living in such a close, condensed social space, society became secular and fragmented. Despite more people living closer together, many began to feel distant and alienated, with people eventually starting to worry that modern life was sending them mad.
The railway, which became a method of transport for passengers in the 1820’s, is a very important force of modernity, as it made different areas that were previously unavailable easily accessible to all, so that people could now learn about and see more of the world. The importance of this new technology called for the sense of world time to become regulated to Greenwich Mean Time in 1847. By 1855, the majority of the clocks in Great Britain were standardized, which demonstrates how modernity controlled life. Technological advances impressed people, such as the invention of the telephone (1876), automobiles (1889) and the airplane (1903). Leisure activities like shopping became available, totally changing how people could spend their free time. People turned to science and psychology instead of only accepting religion. As a result of these forces of modernity that were inescapable for those living in the urban towns, life dramatically altered. The opportunity to access more information, learning about the different people and cultures of the world, somehow left everybody separated. And with all the new technology, processes and material available, art and design changed in reply.
This essay will look at art and design created in the Bauhaus’ modernist project. The Bauhaus (building house) school was an influential art school which was the main place of modern design and architecture, achieving something different to the other art schools of the time with its constructive thinking and revolutionary ideas. The school, which believed that the crafts were equal with the arts and so the separation between the two should be destroyed, had a Utopian aim of creating pure, good quality, functional designs that could improve everyday life for everybody. Students were taught in workshops by master craftsmen, learning about materials and textures rather than just art history. It operated from 1919 – 1933, born out of catastrophe after the 1st World War, but was eventually forced to close as the Nazi's as they thought it was too progressive.
The forces of modernity did not always lead to positive, empowering outcomes, but sometimes to despair. Society became faster, with people struggling to keep up, and falling into depression. People were lost in this mass of new technology. In acknowledgement, Modernist artists tried to provide a solution with their designs, so that people could stay positive and things could progress in a way that wasn’t dizzying, and didn’t distract them from their life. As Barnard says,
‘There is a sense in which modernism represents a dissatisfaction with the modern world and sees a variety of ways in which it may be made better.’ (Barnard 2005:113)
Universal, the geometric typeface designed by Herbert Bayer in between 1925-28, was designed to be an easy to read and understand font that could be used worldwide eternally. It contains only lowercase letters, as Bayer thought uppercase letters were irrelevant.
‘Bayer eliminated capital letters, contending that because the uppercase/lowercase distinction does not occur in speech, it is artificial and unnecessary.’ (Roosevelt 1999:192)
The type is sans serif, free from any form of decoration. It was believed that excessively decorating was a sign of backward development, that ornament was crime. Therefore, only what is needed should be used. A value of modernism in graphic design is ‘the reduction of elements to a minimum.’ (Aynsley 2005)
Bayer’s desire was for Universal to become a standardised, clear and neutral typeface, with the aim of aiding communication.
Universal contains aspects of what modernism is generally believed to be in graphic design. Despite attempts of defining what modernist art is, there are no agreed characteristics which apply to all pieces, only ‘family resemblances’. No piece could contain all the elements associated with modernist design, or it would become hypocritical.
In contrast to this font is the German font Fraktur, which is not neutral or free from decoration. Fraktur is not international, being well known for regularly being used in only German design. This is not what the Bauhaus modernist artists wanted; their approach to design showed their wishes for inequality to vanish, making the world a better place for all.
Not everybody saw modernist work as progressive; anti-modernists disagreed with the new creations. Just as city space is becoming dehumanised by urbanisation, by having just one universal typeface, there is no space for individuality. Modernity does promote equality, but it denies difference. Even the Modernist typographer Jan Tschichold described modernism as ‘impersonal creativity.’ (Fiell 2005:20)
The building of the second Bauhaus school is a perfect example of modernist architecture. Moving for political reasons, the Bauhaus school was located in three different locations during its time. Designed by Walter Gropius, the found of the Bauhaus, the second school was built in 1925 in just over a year, in Dessau, Germany. Behind the modern buildings of the time was the idea that they would be practical to use and could be made quickly, cheap and easily. They should fit in with the modern world and the modernist beliefs. Modern designs should be against elitism, and of a neutral language, which does not discriminate against anyone. The school is an example of what modern life demanded, with everything from the workshops to the flats underneath one roof. It was a response to the new, faster pace of life.
The Bauhaus school had a big window made of re-enforced glass, a new material, so that each room had plenty of light allowing the artists to work in the best conditions. It may not seem like the most exciting piece of architecture, but is a prime example of form following function, meaning that the function is not disguised by the aesthetic. This is the belief of Lois Sullivan who formulated the ‘law that form ever follows function.’ (Barnard 2005:114)
The building was made from concrete and steel, which at the time were new materials. The furniture was created in the workshops, many of the creations being a response to the new technology of the time, particularly transport.
There is a grid like structure in the design and placement of the windows on the structure. The spacing of the windows shows the modernist style of alignment, following a strict grid. It is a well-thought out piece of architectural design that aims to help the world’s progress.
Another value of modernism is that the designs would have a truth to materials, with the object being stripped down to its original form, making these pure materials speak for themselves, not needing to be changed into something they are not. Josef Albers, a teacher at the Bauhaus, says that the artists must ‘exploit, not disguise the strengths inherent of the materials.’ (Withford 1994)
While the Universal font did not take off as a standardized worldwide font, the bold, simple but effective font Futura was designed for the logo of this building. Type faces were rethought with traditional fonts being discarded.
Similar to the idea behind the font Universal, because of the clear, simplicity of the design, the building was ideally supposed to be clear and ever-lasting. There is no sight of useless decoration, instead only what is needed is used; the result being that the beauty is in the simplicity.
‘Adolf Loos … argues that the ornamentation or decoration of objects is to be avoided, because it causes them to quickly go in and out of style.’ (Barnard: 2005:114)
A modernist belief was that it was only possible to create a new piece of design by inventing a new technique. The new font, new typeface and new style of architecture shows this modernist desire for the new, advancing and improving, not looking back at the old.
Modernist art and design was responding to both the positive and negative forces of modernity, continuing to use the new materials and new technologies that had become available to create a new style of non elitist art. The modernist artists had the good intention of continuing to helping to improve the world, and providing answers to problems created through the negative forces such as mass urbanisation and a faster pace of life. This belief is an ‘almost contradictory, but always accompanying, belief in progress.’ (Barnard 2005: 113)
The modernist’s response to the force of mass production may not seem like an adequate response, but a contradictory one, as it could be argued that the sense of the unique individual self was lost due to the forces of modernity.
Word Count: 1,583
Bibliography
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Lupton, E and Miller, A (1999), Design Writing Research, 2nd edn, London: Phaidon Press Limited
Ambrose, G and Harris, P (2009), The Fundamentals of Graphic Design, 1st edn, Switzerland: AVA Publishing SA
Fiell, C and Fiell, P (2005), Graphic Design Now, 2nd edn, Cologne: Taschen
De Jong, C (2006), Sans Serif: The Ultimate Sourcebook of Classic and Contemporary Sans Serif Typography, London: Thames & Hudson
The Face of the Twentieth Century Bauhaus, (1994) [DVD] Written and narrated by Withford, F. UK: BBC/RM ARTS
Idea Finder (2006), Invention of the Telephone, [online] Available at: <http://www.ideafinder.com/history/inventions/telephone.htm> [Accessed 22 January 2011]
